The Hurt Locker By Kathryn Bigelow

He starts off with a medium shot of the individual in the center of the screen; they start rapidly listing off racial slurs and stereotypes and the camera zooms in which emphasizes how violent it is. By the end of the rampage, the shot is an extreme close-up of the character’s face and you can feel the anger and hatred they have for that particular race. The climactic buildup at the end of the film was full of canted angles, shadowy lighting, dozens of fast shot/reverse shots that in full only lasted less than two minutes. The scene at the end of the movie, the hierarchy of confrontations and tensions between the characters, is a canted low angle shot of Radio Raheem and Buggin’ Out after they stormed into Sal’s Pizza Shop makes them appear more powerful and intimidating than Sal. All the shots of Sal are a counterclockwise tilt high angle, causing him to look inferior. The quick cuts back and forth between the two gives the film a sense of the tensions and anger. It is not until Sal rises up to the plate and smashes the radio, that he is being filmed at a leveled angle to show that he is not inferior anymore, but at the same

Almost every piece of cinema seeks to give the viewer an understanding by intricately assembling shots in a coherent, and a sometimes muddled, manner; the techniques used in editing places various shots in purposeful sequences, to emphasize certain relationships between shots. The shots can be arranged smoothly and logically, or shift abruptly from shot to shot; different methods of the aforementioned arrangement of shots are utilized in either discontinuous or continuous editing. Sherlock Jr. and The War on Drug’s music video “Holding On”, are two motion pictures that offer spatial relations, by applying techniques of both continuous and discontinuous editing.

Over the many years of filmmaking, there is no doubt that classical Hollywood has made an interesting name for itself. The classical Hollywood style has become quite predictable in relation to film narrative because of their unique filmmaking choices using devices like continuity editing, three-point lighting, centered framing, and musical scores. When we think of a classic Hollywood film, we usually imagine a story with a happy ending. A phenomenal film that performs all these functions

Through the use of setting, the devastation of war is displayed with the change of scenery as they travel further within the country. When the girls and Dave are first travelling through, the setting is bright and cheerful; they are happy and excited which is shown through a medium long shot of the characters and their transport. As they travel further into the country, the scenery changes as it becomes gloomy and is destroyed. Through the tracking medium long shot, the scenery is displayed while showing the reaction of the girls faces as they lose excitement, being overtaken by sadness and concern. By the director utilising the medium long shot, it allows the audience to see the emotions on the character’s faces while gauging an understanding of the setting.

The elements of cinematography in the film include a low angle shot looking up at the farmer as he chops wood at the beginning of the scene. The shot is preceded by the infamous extreme long shot of the military convoy. The director uses close ups to capture emotions throughout the entire opening scene. Fear in the faces of the farmer’s daughters as they come face to face with the Jew Hunter. Fear in the face of the farmer when he prepares himself as the military convoy approaches. Close ups are used at the table when the confrontation looms; the camera zooms in when the farmer begins to crack under the

Hollywood cinema is primarily subjected to telling stories. The inclination of Hollywood narratives comes not just from good chronicles but from good story telling. The following essay will discuss Hollywood’s commercial aesthetic as applied to storytelling, expand on the characteristics of the “principles of classical film narration” and evaluate alternative modes of narration and other deviations from the classical mode.

In the early 1900’s silent films amazed audiences with images, later talkies impressed with sound, today we have 3D. As technology continues to evolve so too will film genres. Genres, while having some shared characteristics, also differ in terms of stylistic devices used. For instance, the dramatic film “The Notebook” effectively uses color to reinforce theme and has plausible performers as the two main protagonists.

Elvis Presley once said, “Truth is like the sun. You can shut it out for a time, but it ain 't goin ' away.” Plato’s The Allegory of the Cave relates to this quote by focusing on the truths of reality that humans do not comprehend. We think that we understand what we are seeing in our world, but we really just perceive shadows of the true forms of the things that make up the world. We are ignorant about the true nature of reality. The novel, The Giver, by Lois Lowry also involves these concepts. The main character, Jonas, lives in a community of conformity and conflict. When he begins to spend time and train with The Giver, an old man who is the only keeper of the community 's memories, Jonas discovers the unsafe truths of his community 's secret past. Once Jonas discovers the reality about his community, it constantly pesters him until he makes an important decision. Jonas realizes that he must escape from his world in order to make a long needed change for his community. As the prisoner from The Allegory of the Cave seeks knowledge outside of the cave, Jonas from The Giver discovers dark and deadly truths of his community’s secret past that will change his life forever.

A set of practices concerning the narrative structure compose the classical Hollywood Paradigm. These conventions create a plot centering around a character who undergoes a journey in an attempt to achieve some type of goal (). By giving the

During the process of envisioning and designing a film, the director, production designer, and art director (in collaboration with the cinematographer) are concerned with several major spatial and temporal elements. These design elements punctuate and underscore the movement of figures within the frame, including the following: setting, lighting, costuming, makeup, and hairstyles. Choose a scene from movieclips.com. In a three to five page paper, (excluding the cover and reference pages) analyze the mise-en-scène

In David Desser’s “Ozu’s Tokyo Story” he mentions that casual viewers fail to notice Ozu’s “scenic construction and segmenting of screen space” (12). Ozu Yasujiro’s use of the 360-degree space within the film Tokyo Story (1953) may seem like a “mismatched” action. The 180-degree line is a rule where the camera is position at an eye-line perspective. It causes the action within a film to continuously stay on one side of the axis line. Through the editing of 180-degrees, the audience has a connection to the film that makes them feel as if they were not watching a film, but rather, watching the action in person. Ozu, like many other Japanese filmmakers, was influenced by Japanese culture, especially architecture (17). Desser states “the first time we see the Hirayamas in the film, they are seated next to each other, each facing right. Yet by the time the sequence ends we suddenly notice that now they are facing left” (13). Near the end of the segment when a new character, Noriko, walks into the scene. At this moment in the film, Tomi is on the left side of the screen and Shūkichi is on the right. The film cuts and shows Noriko entering the room, cut, then Tomi is on screen right and Shūkichi is on screen left in a long shot. Desser clarifies “characters who converse with each other seem to shift spatially in relation to each other and to the space in which they are filmed” (12).

This paper will focus on the film techniques used by Cameron in his three most known movies, Titanic (1997), Avatar (2009), and Terminator series. Mise-en-scene according to John Gibbs is used in film studies in the discussion of visual style. Translated literally it means “To put on stage”, but for the purpose of students, it is defined as the contents of the frame and the way they are organized (p 5). In addition, a director’s style can be identified only through the arrangement and orchestrations of the film’s mise-en-scene (Nelmes, 425).The films Titanic, Avatar, and Terminator series were successful

‘The Grand Budapest Hotel’ (Wes Anderson, 2014) combines a perfect mix of nostalgia and history. The film explores the themes of war as it recreates history through mise-en-scene. Anderson also incorporates other themes such as racism and elitism during pre-war Europe. The film widely explores Europe from many viewpoints, one of which is of Mr Moustafa. His nostalgia is seen through flashbacks of when he was a lobby boy that went by the name of Zero. As an audience the depth of his nostalgia is seen through mise-en-scene. With the help of cinematography and props we see can see the time and place that Moustafa acknowledges. Anderson shows how history is reimagined through ones nostalgia. Mr Moustafa recalls events, which he was not present in yet he explains them as if he were there. This also shows how one reimagines history from another due to emotions and personal attachment. Despite the outcome being the same there are many viewpoints it can be seen from.

By using this type of editing to include slow motion, the editing expanded chronological time. By expanding chronological time the events of the scene are dragged out so the viewer can see every element and detail of the scene. The way the film maker edited this film allowed the film to display battle scenes and excellent scenery that completed the appearance of the film. Through the use of editing of a film, the filmmaker is able to incorporate special effects, slow motion and expand chronological time in order to give the correct film effect on the audience.

Establishing the difference between the story and the plot allows one to determine the effect each element has on the understanding and interpretation of the piece. It also provides a way of tracking the continuation of events and the relationship between seemingly isolated moments in time. Film Art clearly defines both story and plot but acknowledges that there is a significant overlap between the two functions and allows a flow within the film. The plot is the presentation of the events, in chronological order and includes the events that are seen, inferred and assumed by the viewer as opposed to the story. The story refers to the way in which the plot is presented, the ‘personality’ imposed